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Logistics and Transportation
By air
You are responsible for your transportation to and from Bozeman. Fly into Bozeman, MT (BZN) via Delta, Northwest, United or Horizon Airlines. Plan to arrive on Wednesday, May 12 no later than 5:00 PM (earlier if at all possible). Vans will shuttle participants from the airport to Chico Hot Springs (about an hour's drive in good weather).
For your return trip home, schedule your flight for Sunday, May 16. A free shuttle service will be available from Saturday night's lodging to the airport.Airport information.
Surface Transport
We will meet you at the airport (by the large grizzly bear statue) and provide shuttle service to and from Chico in 15-passenger vans. We will most likely have an early afternoon and later afternoon shuttle to Chico, depending on flight schedules. The field trip to Butte will also be in vans, and we'll deliver you to dinner and the hotel on Saturday night. We will be a bit cramped for space with luggage for 30+ folks. So please bring what you need, but it would help to keep baggage at a minimum.By car
From Interstate 90, take exit 333 in Livingston. Take highway 89 south toward Yellowstone National Park. Proceed on highway 89 for approximately 22 miles. Turn left (east) at the blinking light in Emigrant. Follow signs to Chico Hot Springs, it is well marked.About Chico Hot Springs Resort
Chico Hot Springs is nestled in the scenic Paradise Valley, and is located just 30 miles north of Yellowstone National Park, in the foothills of the Absaroka Beartooth Mountain range. The main lodge building was built in 1900 and newer rooms and conference facilities have been constructed recently. The resort features two pools fed by water from natural geothermal mineral springs. Trails for hiking, cross-country skiing, mountain biking and horseback riding surround the resort. There will be some free time during the workshop to allow for swimming and exploring the surroundings. Bring a swimming suit!Room reservations have been made for everyone attending the workshop. Each participant will have a private room, some rooms may have shared bathroom facilities.
In more ways than one, Chico is far away from the fast-paced world. The rooms at Chico do not have telephones, but there is a telephone in the hotel lobby. Cell phone service is intermittent. There are 4 internet connections in the hotel lobby, but you must have your own dial-up ISP, a cable modem, and the connections are low-speed. There is also one dial up line in the conference room. Remember—this resort is truly a retreat, so take this opportunity to enjoy life at a slower pace!Meals
Chico is renowned for its outstanding cuisine. Breakfasts and lunches will be served in the Chico dining room or the poolside grill, where you will have a choice of items from the regular menu. Buffet dinners will be served in the conference room. For the field trip, we will pack lunches and eat on the road. Saturday night's dinner will be at a local restaurant in downtown Butte. All meals will include vegetarian offerings. Please provide information on the registration form if you require special meals. If you choose to eat other than the planned meals, you will be responsible for the costs.The price of all meals and gratuities during the workshop is covered. However, the NSF grant does not cover alcoholic beverages. Alcoholic drinks will be available for purchase during mealtimes.
What to wear
The dress code will be decidedly casual, but you should be prepared for a variety of weather conditions. May in Montana is renowned for its variable and changing weather. Possible weather conditions range from cold (20-30 degrees) and snowy, to wet and blustery, to mild (up to 80 degrees) and sunny. Make sure to bring a warm waterproof jacket for the field trip, as well as hat, gloves and sturdy boots. Dressing in layers will give you the best flexibility to adjust to the changing weather. Of course, don't forget your bathing suit! The hot pools are sure to be one of the highlights of the trip.Other things to bring
There is a gift shop at Chico that offers a few last-minute supplies, but there are no nearby stores. So try to bring everything you'll need for the trip. Some things to remember are:- Bathing suit for the hot pools
- Camera (and film if you have one of those old-fashioned cameras)
- Sunglasses and sunscreen, just in case the sun does shine.
Contact Information
Chico Hot Springs
Phone 406-333-4933
Fax 406-333-4694
E-mail: firstname.lastname@example.com
Web: www.chicohotsprings.com
Montana State University
Earth Science department office 406-994-3331
Dave Mogk 406-994-6916
Other useful web links
Bozeman, MT
Montana State University (more info)
Dept. of Earth Sciences, MSU


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The Best And Worst Movies Of 2011
The title is self-explanatory as I and Dan Fields present our lists of the top 10 and bottom 5 movies of the previous year. For easier browsing, Dan's Top 10, Brett's Top 10, Dan's Bottom 5, and Brett's Bottom 5. Enjoy.
These are my favorites. I didn't lie about any I haven't seen, and there were definitely a few I still need to catch up on before award season descends. I have listed my choices roughly in descending order, but not with any degree of stubborn insistence.
1) Rango (dir. Gore Verbinski)
2) Midnight In Paris (dir. Woody Allen)
3) Jane Eyre (dir. Cary Fukunaga)
4) Winnie The Pooh (dir. Stephen Anderson & Don Hall)
5) Drive (dir. Nicolas Winding Refn)
6) Tinker Tailor Soldier Spy (dir. Tomas Alfredson)
7) Super 8 (dir. J. J. Abrams)
8) The Muppets (dir. James Bobin)
9) Take Shelter (dir. Jeff Nichols)
10) Warrior (dir. Gavin O'Connor)
There's really no way around it — families and especially kids got the best deal this year. With revivals like Winnie The Pooh and The Muppets hitting the mark so directly, it tends to soften even the harshest perspective on remakes as a whole. But that is not to say there were not some outstanding original efforts. Woody Allen found his magic again with Midnight In Paris, which will make his fans nostalgic for the really good years. Speaking of nostalgia, J. J. Abrams crafted a strong, in fact forceful, Spielberg homage which got blown a little out of proportion, but still delivered in all the right ways. Kudos, Super 8. Overall, a movie like Rango, which bewildered expectations and played it coy about just who the hell its target audience was, got major points just for being so darned inventive.
Those are the ones you've heard discussed endlessly this year. There were others that didn't get as much attention. The year's second biggest 80s homage was Gavin O'Connor's Warrior, a mixed martial arts family drama (yes, you heard me!) starring Joel Edgerton and rising star Tom Hardy. As a troubled pair of brothers, they generally don't get along but they do share a couple of things: a troubled past at the hands of a drunken father (Nick Nolte), a stubborn sense of blue-collar pride, and an uncanny aptitude for cage fighting. Each has his own problems to solve, and it looks like the best answer is a gigantic MMA tournament in which they just might have to face one another. It's so Rocky (can anyone but a Pennsylvanian fight with the heart of a champion?) that it hurts sometimes. Except Rocky Balboa was a lot nicer than either of these guys. Edgerton is stuck in a Rocky II– or III-era family drama; Hardy is having a Rocky V– orVI-style crisis of life, despite his young age and almost supernatural fighting prowess. It's not as grounded in reality as its spiritual predecessor, but remains emotionally satisfying nonetheless.
Cary Fukunaga's Jane Eyre came out around the time that everyone was rushing to see The King's Speech before the Oscars, and that may explain why it passed virtually unnoticed. It also had an extremely spooky trailer, as though they had taken the Charlotte Brontë classic and gone all Sleepy Hollow with it. It turned out not to be that over-the-top, and in fact is a marvelous adaptation of one of the darkest and weirdest entries in the Victorian reading list. Mia Wasikowska, still waifishly beautiful after her thankless turn in Tim Burton's disappointing Alice In Wonderland, smolders and suffers at the hands of ill fate on the gorgeous, misty English moors. Before delighting us all as Magneto, Michael Fassbender put in a fine supporting performance as handsome lout Mr. Rochester.
Similarly under the radar is the new feature from Jeff Nichols and star Michael Shannon, Take Shelter. A little more heavy and overwrought than their previous collaboration Shotgun Stories, this is a compelling and achingly sad portrayal of either mental breakdown or the end of the world. Perhaps both. Shannon, as a family man increasingly crippled by visions of horror, broods most effectively into a credibly pathetic downward spiral. Without giving anything away, this movie would have been nearly perfect if it had stuck the ending. A quick omission would have done the job. Nonetheless, it is ninety percent of an absolutely fantastic film.
Then there are the glorious polarizers. Critics seemed to love both Drive and Tinker Tailor Soldier Spy, but you wouldn't guess that from the nasty things muttered by audience members leaving the theater. Drive was not Fast Five and was never meant to be, as any applicable court rulings will hopefully prove. It is instead a bizarre, brutal, and moodily paced character study about living on a razor's edge. Tinker Tailor Soldier Spy is an adept screen adaptation of a classic but very wordy and convoluted novel. Both films save their energy for short bursts, and are much more about atmosphere, suspense, and paying attention than your average film. Movies, in other words, that you possibly ought to watch with a large scotch, if you're allowed, rather than something caffeinated. For the rest of the world, there's always Final Destination 5. I'm not being sarcastic. I loved Final Destination 5!
Honorable Mention:
The Rum Diary
DAN'S B-MOVIE OF THE YEAR: Drive Angry
Drive Angry, Patrick Lussier's shameless 3D romp through Hell, swampland, and adolescent fantasy, was one of the most pleasant surprises of the year. Nicolas Cage made up for a pretty bad couple of years as a Faustian gunslinger with an axe to grind. And grind it he did, right into a skull or two. Enjoy only if you're amenable to shattering bones, demonic themes, juvenile vulgarity, and 3D naked chicks. Highbrow critical pretension be damned. Drive Angry is fun!
10- The Girl With the Dragon Tattoo (dir. David Fincher)
Released only two years after the Swedish film that bears its name, David Fincher's The Girl With The Dragon Tattoo is still one of this year's most noteworthy achievements. Not the Fight Club and Seven director's best film, Tattoo falls closer on his spectrum to Zodiac than The Social Network, which for many might be a gold seal for Tattoo. Despite being a studio film, Fincher includes a lot of the raw sexual and violent intensity and brutality that made the original so popular in his adaptation of the work.
Although the film's plot suffers from many the same faults as the original, it's the acting that elevates Tattoo above your typical mystery. Newcomer Rooney Mara is a revelation as Lisbeth Salander, bringing a harshness, intelligence, and hidden vulnerability to the role that defines the entire series. And, as Mikael Blomvquist, Daniel Craig actually plays a guy whom you don't believe is a nigh-indestructible bad ass.
9- Midnight in Paris (dir. Woody Allen)
I am an unabashed fan of Woody Allen. Even his lesser films such as You Will Meet a Tall Dark Stranger provide me with some pleasure. There's something soothing about Allen's pacing and dialogue even when he's not firing on all cylinders, and you usually can sense his actors enjoying being part of his world. This year, Allen did something he hasn't done in many years- produce an actually popular film that was a commercial hit.
It's difficult to pinpoint exactly how Midnight in Paris succeeded. The dialogue was excellent, but this is true for many of his films. It has a terrific cast, but Allen genuinely chooses his actors really well, and it's not like Owen Wilson is always a crowdpleaser. The love story works, but it's not like Allen doesn't understand romance. It might be lighter than his previous films, but I would hesitate to call it that much lighter than his more breezy pieces. And Wilson, one of the all-time best Allen stand-ins, is still full of the neuroses that define the legend.
Whatever the case, Midnight in Paris works. Allen's love of the past and 1920s Paris shines through and, as much as I hate using this term, it's a "feel-good" movie that you can feel comfortable about enjoying. The use of historical figures is done exceedingly well, and while I generally hate the "bringing up something in the future to someone from the past" aspect of time travel movies, Allen puts a fresh and non-obnoxious spin on it.
8- Tinker Tailor Soldier Spy (dir. Tomas Alfredson)
There's nothing quite like a well-crafted espionage thriller. The reliance on one's observations and analytical abilities as opposed to shooting prowess, the paranoia, the detachment are all elements can be so much more powerful than setting up bombs and running from explosions. In a world chockful of "Trained By the CIA to Kill the CIA" movies, a tale centered around people rather than punching is a much welcomed reprieve. And Tomas Alfredson's Tinker Tailor Soldier Spy is one of the best of the genre. Perhaps ever.
An intricately crafted tale based on John le Carré's novel, Tinker is a story about a spy game. It's not Spy Game. A fantastic film with incredible acting from its entire cast, Tinker doesn't feel the need to spell everything out for the audience, but this doesn't make for a muddied affair. It's a film that rewards patience, thought, and appreciation of "real" characters in a drama rather than heroes in a suspense. The "bad guys" don't broadcast their deception for the world to see, and the "good guys" are equally reserved, thus making for a significantly more intriguing affair.
7- Shame (dir. Steve McQueen)
Reuniting with his Hunger director Steve McQueen, the omnipresent Michael Fassbender gives one of his best performances yet as the sex addict Brandon Sullivan in Shame. Unlike other tales of broken people seeking redemption, Shame isn't about recovery, it's about living with the damage. We never learn why Brian or his equally messed up sister Sissy (Carey Mulligan) are the way they are because it doesn't matter. The important element of the film is how they try to maintain a respectable face in public while being destroyed from the inside due to their incurable issues. Both Mulligan and Fassbender sell the severely tragic component to their characters and their relationship by underselling their problems (take note Tyrannosaur) and allowing us to feel their emotions rather than telling us what we should think. One incredible way in which McQueen accomplishes this is through his predilection for long takes, which allows the actors to feed off one another rather than exist in a series of reaction shots. He uses it so well that it sours other movies as you're forced to ponder "how much better would this scene have been if there were no cuts at all."
6- Take Shelter (dir. Jeff Nicholas)
Two end-of-the-world movies make my best-of-the-year list. Like my higher ranked Melancholia, Take Shelter focuses on how individuals deal with encroaching doom rather than CGI limos traveling the seemingly abandoned streets of Los Angeles and people outrunning fireballs. After the glut of disaster movies from Independence Day to The Day After Tomorrow to 2012, you forget about the dramatic potential of this idea, but the two films from 2011 can not only rekindle one's interest in the subject matter but remind you about the strength of the personal human drama amidst an epic story.
The ever-reliable Michael Shannon gives a terrific performance as Curtis, a blue-collar guy who begins to receive prophetic dreams telling him that the end is near. He is afraid of what he sees, afraid of himself, and also afraid that he might be losing his mind. He takes to these dreams not as an "end-is-near" fanatic, but goes about it very logically as he studies mental illness and sees a therapist while building his Doomsday shelter at the expense of his job and even his family. Jessica Chastain turns in another remarkable performance as his wife, torn between not believing him, wanting to believe him, and actually believing him. Being burdened with this "knowledge" is treated as the horrible tragedy that it would be, and seeing it from the point of view of the proofless prophet and his uncertain follower provides a unique spin on this oft-tread ground.
5- Drive (dir. Nicolas Winding Refn)
Nicolas Winding Refn's 2008 effort Bronson brought him significant acclaim and showed the world what an incredible force Tom Hardy could be. This year, his Drive took him even further to deserved public recognition. From its opening sequence complete with 1980s-esque score, the movie immediately separates itself from other heist, crime, and car films. This isn't a movie about flash and spectacle, it's a toned down affair. It's about hiding from the cops, not running from them. It's about real cars not cartoony, CGI vehicles. And as such, Drive emerges as the type of movie that would be cool in any era.
Although Ryan Gosling has proven himself as one of the best actors of his generation by this point, his role as the stoic, unnamed lead character shows him as a genuine screen presence. Carey Mulligan continues her streak of choosing mostly unique films (and being remarkable in them), and Albert Brooks excellently plays against type as a calm and collected gangster.
4- Hugo (dir. Martin Scorsese)
As a fan of Martin Scorsese, it's difficult to say that I've loved a lot of his modern work. I've definitely liked The Departed, The Aviator, Shutter Island, and Gangs of New York, but it's difficult for me to say that any of those films really served to remind me why Scorsese is one of the greatest filmmakers of all time. The extra spark that set even smaller works like The King of Comedy and After Hours apart barely felt present in his features from the last decade. But Hugo once again made me genuinely excited to see the latest from the Taxi Driver director.
A gorgeous, heartfelt film about the joy of imagination and creation, Hugo is the rare family movie that provides something real and honest for adults and children alike. Kids can be smart without being hip or modern. Adults are allowed to have emotions and not simply exist as foils until it comes time for the hug at the end. Hugo is bittersweet with a layer of sadness surrounding and filling all the characters, but that's what makes the film work. When good things happen, they actually mean something, and the victory is all the richer.
3- The Tree of Life (dir. Terrence Malick)
Terrence Malick is a divisive director, and The Tree of Life has its detractors, but I personally found it to be a virtual masterpiece. It takes a true artist to take what could rightfully be considered bombastic pretentiousness (e.g. space ; "heaven"; Sean Penn) and transform it into an essential part of the actual experience. And that's what The Tree of Life is: an experience. An intangible and beautiful film that presents childhood, life, and humanity with simultaneous cold detachment and incredible compassion. As we follow the O'Brien children from birth until early/pre-adolescence, Malick encompasses the entirety of growing up through the eyes of children. No singular experience is given exaggerated weight or impact, as both small and large moments play equal factors in the development of these kids.
While Jessica Chastain is impressive as the mother, Brad Pitt gives one of his best all-time performances as the father. In his extensive career, Pitt has never managed to be the "every man." Oddly enough, the closest he has probably come to being a "average schlub" was as iconic outlaw Jesse James in the brilliant The Assassination of Jesse James by the Coward Robert Ford. The Tree of Life changes that, and Brad Pitt plays the perfect father role while being the furthest thing from a perfect father. Stern and compassionate, unhappy with how his life turned out but still loving his wife and kids, advice-giving without being particularly wise, Malick removes the "matinee idol" from Brad Pitt and allows him to be an actor.
2- Best Comedy of the Year: Super (dir. James Gunn)
Good acting, a decent script, and funny set pieces can lead to an above average comedy but not great one. A genuine comedy classic requires something more- it can't simply tinker with conventions, it must obliterate them. Take the characters and the story into new directions and garnish them with subtleties and the unexpected.
James Gunn's Super is the movie for those disappointed that modern comedy films don't take that extra step. Moments in this movie reminded me how much I had forgotten just how strong a laugh could be. Starring Rainn Wilson as Frank, a fry cook who adopts the role of powerless superhero The Crimson Bolt, Super is incredibly dark, incredibly violent, and incredibly funny. Like I complained about in an earlier article, many comedy films fail by featuring more-or-less ordinary people trying to maintain their composure in extraordinary situations. Super. keeps the dysfunctions in the hands of its main characters. Frank is unstable, as is his side kick Libby/Bolty (Ellen Page), and Sarah, Frank's wife/damsel in distress (Liv Tyler) is an addict who once again becomes hooked on drugs. Moreover, Frank is actually a truly sad figure thus giving this film significantly more weight than the average comedy.
Along with pushing the boundaries of the comedy film, Super also shows a keen eye towards comic book tropes and terrifically juxtaposes them against both scenes of brutality and monotony.
1- Best Drama of the Year: Melancholia (dir. Lars von Trier)
Like all great directors, Lars von Trier constantly surprises his audience. Although most of oeuvre is challenging in a variety of ways, he tends to show a true concern with his characters no matter how dark, depressing, or depraved their paths. He certainly takes them to places few dare to think about, let alone tread, and he finds ways to avoid melodramatic trappings. Following the supremely disturbing journey of his amazing Anti-Christ, von Trier tried his hand at the apocalyptic genre with Melancholia.
Set at an isolated mansion during the days before and after Earth is about to have a near-miss with a planet named Melancholia, Melancholia asks how would people react if they knew that humanity could potentially be destroyed within a matter of days. As the cold bride-to-be Justine, Kirsten Dunst gives one of the best performances of the year and of her career as she imbues her character with subtlety and depth that grow as revelations become clearer throughout the film. While Dunst has received accolades for her role, Charlotte Gainsbourg as her sister Claire also deserves recognition for giving a remarkably nuanced performance as Justine's opposite. While Claire's nerves increase as she doubts the accuracy of the scientists' predictions regarding Melancholia's orbit, Justine grows even more detached adding to her panic. Alexander Skarsgard, Kiefer Sutherland, and Stellan Skarsgard round out the cast, and von Trier regular Udo Kier has a small but memorably comical role as the Wedding Planner.
Another special note must be given to the look of the film. I have seen numerous films this year in theaters, including some of the biggest budgeted spectaculars ranging from Harry Potter to Green Lantern, and I felt that only three made exquisite use of the big screen: Hugo, The Tree of Life, and Melancholia. There are some sequences in this film, particularly the opening one, that are truly beautiful and give an expanse that even 3D can't buy.
What further makes Melancholia remarkable is one of von Trier's usual strengths- it produces a genuine, visceral reaction. His works may be considered "emotional" movies, but it's difficult to describe one's response with typical "emotional" terms. Neither sad nor cathartic, Melancholia is a film whose imagery and ideas last long after it ends.
5 Honorable Mentions:
I was alternating heavily between The Artist and The Girl With the Dragon Tattoo as my number 10.
The Artist– This silent film about silent films painstakingly establishes a time-appropriate universe with strong, from photogenic performers and a palpable respect of the era.
A Dangerous Method– David Cronenberg takes an intensely dramatic look at the relationship between Sigmund Freud (Viggo Mortensen), Carl Jung (Michael Fassbender), and Jung's patient Sabina Spielrein (Keira Knightley).
The Descendants– Alexander Payne offers another look at average people dealing with personal doubt and crisis through his distinctive slice-of-life humor. Special credit goes to Shailene Woodley who turns in a surprisingly good performance as George Clooney's daughter after spending several years as loathsome teen mom Amy Juergens on The Secret Life of the American Teenager, one of the worst shows ever put on television.
Limitless– A definite "surprise" film, Limitless is a fun movie about a writer who becomes a super genius from a questionable drug and must outrun and outsmart business men and the mob. Director Neil Burger gives his movie a distinctive visual style, and Bradley Cooper's smarmy charm is at its best.
Rango– Some of the best animation I've seen in years in a Western movie that respects the genre rather than cribs from the most popular movies in it.
1) New Year's Eve (dir. Garry Marshall)
2) Your Highness (dir. David Gordon Green)
3) Season Of The Witch (dir. Dominic Sena)
4) Hop (dir. Tim Hill)
5) Don't Be Afraid Of The Dark (dir. Troy Nixey)
There were plenty of sub-par movies this year, but apparently I managed to miss a few of the most reviled. I skipped Jack And Jill, for example, even though that made almost every "Worst Of 2011" list out there. It sounds like it may categorically be the worst film of the year. Meanwhile, I feel strong loathing for the top three entries in this list, and only extreme disappointment in the other two. I was not sure anything could edge out Your Highness as my least favorite, but Garry Marshall of all people found a way. A comparison of my reviews will show a half-star discrepancy in favor of New Year's Eve, but rest assured that this can be blamed on too much Christmas cheer.
New Year's Eve was easily the most half-hearted, phoned-in, insultingly thrown together pile of garbage that could have been assembled from a big budget, an all-star cast, and a high-concept romantic comedy premise. Shame and fie. For more details, catch my review. Your Highness was also 100% unfunny, but it seemed as if the people who made it really thought it would be hilarious. Memo to David Gordon Green and company: there's a difference between a script that you carefully write so that people will think it's funny when they're stoned, and writing a comedy script while you yourself are stoned. I suspect the latter tactic applied in this case. Now that I have New Year's Eve to hate even more, my vitriol against Your Highness has ebbed a tad.
Season Of The Witch was a complete misfire, attempting to subvert the expectations of horror fans who were rightly furious about not getting the horror film they came expecting to see. It was a sort of humorless Gothic drama with mediocre production values. Had any aspect of the production been at least laughably awful, it might have won some points back. But Nicolas Cage, in a rare display of restraint, even chose to underplay his role as a marauding knight. Thank goodness Drive Angry came along later in the year as a more worthy counterpart. By any measure, Season Of The Witch was a cold, limp way to spend 90 minutes.
Hop – an Easter Bunny adventure by Alvin & The Chipmunks director Tim Hill – was probably as good as it could have been. It still pretty much sucked. There was a cute animated fairy tale in there somewhere, but the framing narrative about James Marsden wanting to be the Easter Bunny as a thirty-year-old man is so achingly lame that all of Russell Brand's best efforts as the cartoon bunny go virtually wasted. Grown men can choose to be Muppets, apparently, but not Easter Bunnies. Don't Be Afraid Of The Dark, which producer Guillermo del Toro assured us would be mind-blowingly scary, betrayed the trust of… well, all of his fans. Troy Nixey's tale about malevolent pixies in a big dark house did a great big belly-flop. No mystery, no memorable scares, precious little genuine suspense. End of story. Hopefully Mr. Judas del Toro will return to the director's chair soon.
All in all, 2011 was a year of disheartening mediocrity, but at least a few films managed to be significantly better (or worse) than average. If you weren't bored by too many movies this year, you did well.
Coming up with a list of worst movies of the year is difficult. Unlike movies that we hope to be good, we try to avoid movies we know will be terrible unless we're bored or they're on cable or something. Devising this type of list also forces us to ask an important question: are these the "worst" movies or are they the most "disappointing" movies? A film like The Ides Of March, for example, had such a strong storyline with Gosling/Giamatti/Hoffman/Tomei that the rest of the film (and its subsequent SPOILER sex scandal) felt cheap and dragged the whole film down with it. In that instance, March could conceivably be my "worst" film because it had the most squandered potential. Alternatively, is it fair to point the finger at Bucky Larson: Born To Be A Star? A profoundly terrible film that had no choice but to be a profoundly terrible film? Does Larson's presumed self-awareness of its badness make it more or less guilty of being bad? And how should one judge The Smurfs? Or Chipwrecked? These are all complicated issues that I cannot answer, but nevertheless, here's my list of worst movies.
5- Sucker Punch (dir. Zack Snyder)
An ambitious failure is a failure nonetheless, as is the case with Zack Snyder's Sucker Punch. Even more disappointing is that there were a lot of ideas in this film that could have worked had Snyder allowed another screenwriter to take a crack at it. Between the concepts of mental illness, the subconscious, fighting back against one's captors, and the era, Sucker Punch could have been a mix of Girl, Interrupted, The Craft, and Hitchcock's Spellbound. Instead, it was a mess of half-baked ideas, exaggerated action sequences, and non-characters. How could we consider any of the characters characters when we only see their real selves for probably 5 minutes at most? Did Rocket, Blondie, or Amber even die? Dr. Gorski (Carla Gugino) seemed pretty lackadaisical about the deaths of at least three of her patients when we return to Asylum Reality at the end. Furthermore, Snyder's visual style failed when trying to differentiate between Asylum (a.k.a. Real) Reality and Brothel (a.k.a. Fake Level 1) Reality and overwhelmed (and not in a good way) when dealing with Video Game (a.k.a. Fake Level 2) Reality.
But at least Snyder attempted something to produce something unique, even the movie fell apart pretty quickly. And we could actually follow the action sequences, which is more than I can say for other films on this list.
4- Friends with Benefits (dir. Will Gluck)
Some romantic comedy needed to make the list and of the several I've seen this year, Friends with Benefits was the worst. Unlike Something Borrowed, which had the decency to populate its core cast with four shockingly unlikeable characters, or What's Your Number?, which knew its place, Friends with Benefits tried to present itself as an alternative to the traditional rom-com while playing to its conventions beat-by-beat. The movie even has a subplot where Dylan (Justin Timberlake) rails against the tropes of the genre, which makes the movie's easy willingness to play by the rules even more annoying.
A major problem I had with the film was Jamie (Mila Kunis) going on about how she was "damaged goods," and Dylan eventually "agreeing" with her, though that was just so we could get the forced break-up scene. Jamie was a yuppie with a high paying, high powered job in a nice apartment and seemingly many friends; she just didn't want a relationship. Actual evidence of her dysfunction might have been left on the cutting room floor, but the character we saw most certainly was not damaged. At least not from my definition, and I am willing to accept a lot of variations of damaged. I'd be far more ready to call Borrowed's Rachel (Ginnifer Goodwin) damaged from her inability to stand up for herself and obvious severe depression or Number's Ally (Anna Faris) damaged due to her need for self-edification from a magazine and men than I would Jamie.
Another issue I had with Friends with Benefits was the dementia/Alzheimer's subplot wherein Dylan's father (Richard Jenkins) has the disorder. I'm not sure why, maybe it was the popularity of The Notebook, but Alzheimer's disease, dementia, or a similar condition has popped in a lot movies over the past several years, often without serving a purpose in the story. Some recent examples include Rise of the Planet of the Apes (where the disease actually did function as a catalyst to the plot), Buried, 50/50, and this one. While I understand that its inclusion was so Dylan could get a last minute speech of encouragement to follow his heart from his father during a brief moments of lucidity, it felt really unnecessary.
3- New Year's Eve (dir. Garry Marshall)
When the best performer in your movie is Zac Efron, you have a problem. When he is so obviously miscast as some sort of street wise, bike messenger/hustler-type, you have a bigger problem. When his best friend is Ashton Kutcher's character, you have questions. And when he shares the screen (though never at the same time) as Robert DeNiro and is still the best person in the cast, you know something is horribly wrong. And horribly wrong best describes the entirety of New Year's Eve.
Nothing works in the movie. At all. The best vignettes are the ones that don't make you feel anything while the worst offend your intelligence. The psychotic obsession that people seem to believe that people have with the Times Square Ball Drop comes across as either highly disingenuous or completely delusional. A parody-esque speech made by Hilary Swank about a frozen Ball representing a chance to reflect on our lives and hope for a better future shockingly ends up being a serious moment, one that elicits tears all around The Big Apple. Katherine Heigl continues to remain way too aloof for a rom-com lead, and Jon Bon Jovi as her ex-boyfriend seems lifeless as an aging rocker beloved by people of all ages including tweens. I wonder if his inclusion was an attempt to capture the popularity of Bill Nighy's character in Love Actually. Ashton Kutcher plays a slightly bitter Ashton Kutcher, and Lea Michele acts as though she were in dress rehearsals for a bad play. However, the happenings surrounding her getting to sing Auld Lang Syne was probably the movie's most interesting concept if only because you're left wondering "how?" and "what now?" Finally, when it comes to Robert DeNiro, one ends up pondering when the filmmakers realized they needed a scene of him not dying to put in the commercials.
Now yes, one should not expect anything approaching depth when watching New Year's Eve. It's a cute movie meant to be a cute movie, and it should be evaluated on that basis. But New Year's Eve was not all that cute. It was an empty, soulless film based around concepts that might have elicited an "this could be awwww" in the outlining stages. It might be difficult to pull off, but cute does not need to be a synonym for lazy and stupid.
2- Jack and Jill (dir. Dennis Dugan)
I have seen all three parts of 2011's Adam Sandler Trilogy: Just Go With It, Bucky Larson: Born to Be a Star (which he wrote and produced for protege Nick Swardson), and Jack and Jill. I would be hard pressed to call any of those movies good. In fact, I would be hard pressed to say that any of those movies had good moments. Nevertheless, the worst of these efforts was easily Jack and Jill. In it, Adam Sandler plays both Jack and his twin sister Jill. Hilarity ensues.
Jack and Jill is the type of movie that you can pick any individual element and spend significant time and/or space explaining "this is why the movie was so bad." The plot or lack thereof, the absence of humor, the poor production values (you at least sensed that Just Go With It had a budget), the plot holes (people can just leave fly back home from a cruise ship in the middle of the ocean?) all definitely play a factor in the failure of this film, but the biggest issue is the characters. In particular, the character of Jill.
I don't think the film ever figured out if we were supposed to like her or not. There are ways to make a perpetually perky, quirky, and outside-the-box thinker gain our sympathy, but this movie doesn't even make an attempt to allow us to fill anything but contempt for Jill. She's annoying, loud, obnoxious, stupid, and I think the only reason we're supposed to side with her is because she feels bad for herself. While I'm sure it must be terrible for her to be a spinster, it's impossibly difficult to hope that she finds a guy because you'd just end up feeling bad for the guy. Despite not caring about the character of Bucky Larson, Nick Swardson tried to give him a heart. His over-the-top earnestness definitely grated, but when faced with the self-centered obliviousness of Jill, you realize that you didn't actively root for him to die.
Now the flaws with Jill wouldn't be a problem if Jack and Jill decided to make her as the relative from hell whom everyone hated. (Sample dialogue: "It's not you, it's the chimichangas! They're making a run for the border!") Jack despises her with such a virulent passion that you wonder if she killed his best friend/their parents when they were younger. Yet Jack's wife Erin (Katie Holmes) doesn't seem to hate her, but it's hard to determine if she actually likes her. She clearly knows enough about Jack's issues with Jill to warn him against making a scene at Thanksgiving, but does she think he's overreacting, does she recognize Jill's flaws but is really into family, does she pity her? We never find out. As the film progresses, Jack himself wildly fluctuates between feeling bad for her, caring for her, and wanting her to suffer painfully with nary a trigger to be found. He has a reason for keeping her around (he needs Al Pacino for a commercial and the once great Godfather star has the hots for her), but he never seems particularly manipulative towards his sister as far as this plot goes.
Stock Sandler company actors such as Tim Meadows and Nick Swardson are notably bland. Katie Holmes as Sandler's wife seems hired just for reaction shots; she is very good at clapping her hands and looking happy. I wouldn't be surprised if Pacino had more screentime than Holmes, but I would put money that he had more lines of dialogue. And while Pacino embarrasses himself (and the audience), he does so with a level of self-awareness that makes this a better venture for him than, say, S1M0N3.
Additionally, Jack and Jill constantly rips off the classic Kids in the Hall Citizen Kane bit, albeit to much lesser success.
1- The Worst Movie Of The Year: Transformers: Dark of the Moon (dir. Michael Bay)
It's an easy answer, it's a cheap answer, but I consider Transformers: Dark of the Moon to be the worst movie of the year. It has nothing to do with slamming Michael Bay for being Michael Bay, but has everything to do with TF3 simply being an all-around terrible movie. I tend to give points off to any film whose first half has practically no bearing on the second half, as well as movies who sideline their best actors (John Turturro, Frances McDomand, Alan Tudyk) for Josh Duhamel. Sadly, in New Year's Eve, Josh Duhamel was one of its best actors.
While some consider TF3 to be an improvement over the ill-regarded Return of the Fallen, I still recognized most of the problems that plagued the first sequel, as well as several new ones. Did we need to devote more time to Sam's neuroses? Did we need Malkovich at all? What was that about Patrick Dempsey's family being the Decepticons' accountant? And knowing this information, you couldn't predict that the super fancy car he gave you will be a bad robot? Who were the "many" when Sentinel Prime (Leonard Nimoy) repeated Spock's "needs of the many" line from Star Trek II: The Wrath of Khan? Cybertron operates under different laws of physics? Apparently Earth found out about the Autobots' existence, and we're cool with letting our only protection against the Decepticons go off? We're cool with aliens? Aliens that perform covert ops for the United States government? And how many Autobots are left on Earth? Less than 10? Did Mudflaps and Skids die? Could we have seen that?
But fair enough, TF3 isn't about plot or dialogue or acting or characters or cleverness or originality. It's about the action sequences and special effects! And the ones in this film were … uninspired. We still contend with the same giant blurs of greyness beating up other giant blurs of greyness, and it all becomes very redundant and boring after not too long. Chicago might get destroyed and Earth seems on the verge of being crushed by Cybertron, but you never get a sense of danger. Your mind can only be numbed for so long from loud sounds and bright colors before it regains sensitivity and you begin to question, well, everything.
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subset: commoncrawl


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More face-time with readers, the secret to Adverpost success
by henrycopelandTuesday, October 12th, 2010
We're continuing to tweak the Adverposts and are very excited by early advertiser feedback.
(Want more info on Adverposts? See this post.)
Recently Little Partners used our new Adverpost unit on parenting blogs like Modern Home Modern Baby, The New Homemaker, Smart Mom Picks, and Smart Mom Deals.
Their product, The Learning Tower, is an adjustable height platform, kind of an upscale toddler step stool with learning built in. Too nuanced and new to summarize in a single image, The Learning Tower seemed perfect for Adverpost.
Last week, I checked in with Damien Lamanna, Digital Media Director at Morgan + Company, who instigated the buy.
Lamanna said the client got a 2.85-fold return on the ad buy, and that's "without counting any of the long term brand-building."
Though the Adverpost's cost-per-click was higher than on other ad units the client tested, visitors referred by the Adverposts spent SEVEN times more time on the advertiser's site than those referred by other units. Here's a thumbnail of the ad:
Lamanna thinks this higher time-on-site was because Adverpost clickers were already acquainted with the product from reading the ad. Having seen the ad over several days, they were familiar with the product even before clicking. When they clicked, they were primed to engage.
The visual for The Learning Tower's ad was a rotating flash unit. When they next advertise, we'll suggest using a static image without any text and adding more links to the ad text.
Update: Adverposts can now include video!


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Christie® DHD775-E provides trusted performance, reliability and exceptional image quality. This projector is ideal for small auditoriums, boardrooms, classrooms and houses of worship.
The Christie DHD775-E offers unrivalled value. You get:
The Christie DHD775-E is ready for the challenges of fixed installations and rental/staging applications.
The Christie DHD775-E gives you exceptional image quality, flexible installation, and ease of operation.
A full suite of lenses, input options and 360 degree projection give you the flexibility to pick what works best for your presentation. The Christie DHD775-E is ideal for fixed install applications. The optional stacking, blending and warping capabilities also make it a great option for staging applications.
This projector comes with a number of eco-friendly features that lower the total cost of ownership.
The Christie DHD775-E is backed by Christie's industry-leading warranties, service and support.


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Sandwich Art
Created and photos by Brittany Powell.
Ha. How cleaver.
Love this!
It looks like playing with her food served her well!
Piet Mondrian! Fabulous.
even sandwiches can be an art, very artful!
these are awesome, i wish i had the patience!
have you seen these?
Art AND a sandwich? I'm sold!
I'm so pleased for having the 'next' button on my page.
RS Gold
Buy RS Gold
Cheap RS Gold
This is too cute- love your site!
I love it when food-art (otherwise known as F-ART), becomes appreciated as real art. :) Heading over to check out more of her stuff!
This is adorably educational!
This is absolutely amazing! I love art and putting them on sandwiches can definitely make me hungry all the time! :D


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FRANKFURT, Germany (AP) -- Volkswagen's chief executive Martin Winterkorn said Thursday the company faces a challenging year particularly in Europe where many countries are in recession.
Winterkorn told the company's annual news and analyst conference that "Volkswagen is feeling the headwinds — especially in Europe."
However, he said he was "guardedly confident" and that this year's operating earnings should match last year's. In 2012, VW recorded record sales and earnings.
Winterkorn said prospects were better in the United States, "where the upward trend is continuing," and in China. He said that of 10 planned new plants, seven were in China, strengthening future earnings there.
Volkswagen is doing better than Europe's other mass-market carmakers, who are struggling with fierce competition and slumping demand in southern Europe due to the debt crisis that has seen unemployment rise, especially among the young people who are a key market for smaller, cheaper cars.
Volkswagen's flagship brand has done well while its luxury brands, such as Audi and Porsche, are enjoying higher profits per vehicle.


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Join The Solar Revolution With These Ideas
Solar power has transformed the energy use of millions around the globe. People who make smart use of solar energy find that it truly saves them money on the power they use every day. This article will show you how a solar energy system works and its many benefits. Start out small when starting with solar energy. You can find these in almost any type of home improvements stores and large retailers. They are very easy to install as any other garden light. In order to maximize the potential from your solar panels, you should select those that do not completely rely on the sun shining at all times.This can be quite useful if you use lots of power in the evening. You need to find a reliable way to store your energy that's produced by your solar energy system. A quality battery that you should look into to facilitate proper storage. You should consider investing in solar energy if you are interested in long-term investments.Solar panels represent an initial investment and may tale a whi


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Make, Manage and Monitor Offers Online
Welcome to the CHS Online Trading resource, a platform that allows you to monitor markets and to sell your grain to CHS when it's convenient to you. Change your target price at any time, whether online or on the new CHS Grain Trading mobile app. We look forward to servicing your marketing needs. Please call us for questions or assistance.
CHS Online Offer Center:
- Get the Best Prices
- Save Valuable Time
- Easy to Use
- Complete Records
Go Mobile with the CHS Grain Trading App!
Control, convenience, and profitability at your fingertips — it's all available from the CHS Grain Trading Mobile App.
With the new app, you are able to:
- Make an offer 24/7
- View CHS grain terminal and processing locations bidsheets
- Access market information and charts
- Take control of market volatility to sell your grain for the price you want
- Increase productivity and maximize profitability


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This is for all my beautiful women friends, whether they are mothers or not, on International Women's Day, Mother's Day, and every day of the year. Without your friendship, I would be lost. You are precious, unique, and beloved.
Imagine a Woman in Love with Herself
by Patricia Lynn Reilly
"Imagine a woman who believes it is right and good she is woman.
A woman who honors her experience and tells her stories.
Who refuses to carry the sins of others within her body and life.
Imagine a woman who has acknowledged the past's influence on the present.
A woman who has walked through her past.
Who has healed into the present.
Imagine a woman in love with her own body.
A woman who believes her body is enough, just as it is.
Who celebrates her body's rhythms and cycles as an exquisite resource.
Imagine a woman who embraces her sexuality as her own.
A woman who delights in pleasuring herself.
Who experiences her erotic sensations without shame or guilt.
Imagine a woman who honors the body of Goddess in her changing body.
A woman who celebrates the accumulation of her years and her wisdom.
Who refuses to use her precious life energy disguising the changes in her body and life.
Imagine a woman who has access to the full range of human emotion.
A woman who expresses her feelings clearly and directly.
Who allows them to pass through her as gracefully as a breath.
Imagine a woman who tells the truth.
A woman who trusts her experience of the world and expresses it.
Who refuses to defer to the thoughts, perceptions, and responses of others.
Imagine a woman who follows her creative impulses.
A woman who produces original creations.
Who refuses to color inside someone else's lines.
Imagine a woman who names her own gods.
A woman who imagines the divine in her image and likeness.
Who designs a personal spirituality to inform her daily life.
Imagine a woman who refuses to surrender to gods, gurus, and higher powers.
A woman who has descended into her own inner life.
Who asserts her will in harmony with its impulses and instincts.
Imagine a woman who is interested in her own life.
A woman who embraces her life as teacher, healer, and challenger.
Who is grateful for the ordinary moments of beauty and grace.
Imagine a woman who authors her own life.
A woman who trusts her inner sense of what is right for her.
Who refuses to twist her life out of shape to meet the expectations of others.
Imagine a woman who participates in her own life.
A woman who meets each challenge with creativity.
Who takes action on her own behalf with clarity and strength.
Imagine a woman who has crafted a fully formed solitude.
A woman who is available to herself.
Who chooses friends and lovers with the capacity to respect her solitude.
Imagine a woman who refuses to diminish her life so others will feel better.
A woman who brings the fullness of her years, experience, and wisdom into each relationship.
Who expects others to be challenged and blessed by her presence in their lives.
Imagine a woman who assumes equality in her relationships.
A woman who no longer believes she is inferior to men and in need of their salvation.
Who has taken her rightful place beside them in the human community.
Imagine a woman who refuses to use her precious life-energy managing crisis and conflict.
A woman whose relationships deepen in satisfaction and contentment without depleting her.
Who chooses friends and lovers with the necessary skills to navigate through the challenges of life.
Imagine a woman who values the women in her life.
A woman who sits in circles of women.
Who is reminded of the truth about herself when she forgets.
Imagine a woman who has relinquished the desire for intellectual safety and approval.
A woman who makes a powerful statement with every word she speaks, every action she takes.
Who asserts to herself the right to reorder the world.
Imagine a woman who has grown in knowledge and love of herself.
A woman who has vowed faithfulness to her own life and capacities.
Who remains loyal to herself. Regardless.
Imagine yourself as this woman."
The author of this wonderful poem is Patricia Lynn Reilly, M. Div., Copyright: 1995. The title of this published book is based on the poem "Imagine a Woman in Love with Herself" (Conari, 1999). Get it on Amazon.


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(visited by Sirous Nekooei)
08-Sep-2006 -- This is my 7th CP visit.
This weekend my family and I decided to travel to the forests of northern Iran. We were passing very close to this CP to go to Šīrābād waterfalls, so I decided to visit the point.
Directions: Golestān province; city of Khān Behbīn; Kalūkan village; the bakery of the village; enter a graveled road toward the south; stop 100 meters far from the point; walk toward the point.
Actually I chose another way which passed through the cemetery of the village and I had to walk for 300 meters, but the above mentioned directions is the best way.
The CP is located inside a cotton farm. I walked to the border of the farm and I got as near as 18 meter to the point. I decided not to enter the farm.
Altogether, this is an easy point to visit for everybody who travels to this attractive and beautiful part of Iran.


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Materials Needed:
Cream/Ivory Spray Paint (Flat or Satin)
Masking or Painters Tape
Transfer/Graphite Paper
Acrylic Paint
Clear Spray Enamel (Optional)
1.) Start by masking off your stem with masking or painters tape.
4.) Next you are going to want to create the monogram you plan to use. I use the word processor program on my computer (Microsoft Works) to generate a monogram. I used a font called Ecolier. You will need to adjust your font size to get the size monogram you want.
** If you do not have transfer paper, you can turn your monogram over and "color" on the backside of the paper with a soft lead pencil where your letter is located. This serves the same purpose as the transfer paper.
8.) Trace over the entire monogram.
You can use any acrylic paint. I used an opaque metallic paint by Modern Masters in English Brown.
10.) This final step is optional. If your pumpkin will be in the elements, you will probably want to apply a clear sealant. I have tried MANY, and I personally like Rust-oleum's Crystal Clear Enamel. I have found it goes on the easiest and doesn't yellow over time. I did not apply the clear coat to mine since it was on a covered porch.


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» Home » About the Site » About the Webmaster » Link Buttons
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Welcome to Believer, the Rika Fire fanlisting collective owned by Rika24 and hosted by Katze.
You are currently viewing version 7 of Believer, which features Sakura Kinomoto and Kero from Cardcaptor Sakura. This layout is my entry for the Classic Animanga Series Layout Marathon that runs until July 15th. The button below links to the site.
I chose CCS because it was my very first manga series that I ever read. It alone is responsible for my current love of manga, as well as comics. Cardcaptor Sakura is also the first real Shoujo series that I had obsessed over, as well as the only one - though Ghost Hunt comes REALLY close - which is normally always a Shounen series. Even though I have read and seen many Shoujo manga and anime, none can compare with this series.
Date Created: May 26, 2006 Last Updated: July 02nd, 2019 Number of Fanlistings: 72 Newest Fanlisting: One Piece: Usopp and Vinsmoke Sanji


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Revolutionary Founders: Rebels, Radicals, and Reformers in the Making of the Nation (Paperback)
In twenty-two original essays, leading historians reveal the radical impulses at the founding of the American Republic. Here is a fresh, new reading of the American Revolution that gives voice and recognition to a generation of radical thinkers and doers whose revolutionary ideals outstripped those of the "Founding Fathers."
While the Founding Fathers advocated a break from Britain and espoused ideals of republican government, none proposed significant changes to the fabric of colonial society. Yet during this "revolutionary" period some people did believe that "liberty" meant "liberty for all" and that "equality" should be applied to political, economic, and religious spheres. Here are the stories of individuals and groups who exemplified the radical ideals of the American Revolution more in keeping with our own values today. This volume helps us to understand the social conflicts unleashed by the struggle for independence, the Revolution's achievements, and the unfinished agenda it left to future generations to confront.
About the Author
Alfred F. Young was professor emeritus of history at Northern Illinois University and was a senior research fellow at the Newberry Library in Chicago. He lives in Durham, North Carolina. He passed away in 2012.
Gary B. Nash is professor of history emeritus and director of the National Center for History in the Schools at UCLA. He lives in Pacific Palisades, California.
Ray Raphael is the author of A People's History of the American Revolution, Founding Myths, and several other books on the nation's founding. He lives in northern California.
Praise For…
"The best essays are small gems of exposition, providing both the context and detail necessary to enable readers to recognize the important contributions of these previously unappreciated and largely unknown individuals. . . . In short, Revolutionary Founders is one step, but only one, toward a comprehensive account of the nation's origins." —Mary Beth Norton, The New York Times Book Review
"In these 22 provocative essays, leading historians highlight Revolutionary-era people and movements that textbooks and standard accounts skip. . . . Revolutionary Founders aims to test the parameters of what we think we know with new and reinterpreted data and fresh theories. . . . [T]hey offer challenging, surprising perspectives on the turbulent crosscurrents that shaped our nation's birth." —American History
"[A] uniformly strong collection, [by] an impressive array of historians—among them, T.H. Breen, Eric Foner, Jill Lepore and Alan Taylor. . . . Editors Young, Nash, and Raphael have solicited wisely, with each contributor adding an important dimension to the controlling theme: 'We cannot have too much liberty.' Adds immeasurably to our understanding of the Revolution's full meaning." –Kirkus Reviews
"Fast-paced and readable, this remarkable book captures an American Revolution that has long been hiding in plain sight. I emerged with a new set of heroes, a fresh appreciation for complex stories, and a new sense of our own connection to a revolutionary past." –Linda K. Kerber, author of No Constitutional Right to Be Ladies: Women and the Obligations of Citizenship
"Revolutionary Founders brilliantly restores the struggle for social equality to the central place in the history of American Revolution, and explains how the 'spirit of leveling' shaped the making of the new American Republic. For anyone interested in the sources of popular democracy in the United States, Revolutionary Founders is required reading." –Ira Berlin, author of The Making of African America: The Four Great Migrations
"Revolutions free the imagination, making many things seem possible that once were deemed wild visions. Revolutionary Founders introduces into the pantheon of the American Revolution those rebels, radicals, and reformers who passionately committed themselves to act on the conviction that 'all men are created equal.'" –Joyce Appleby, author of The Relentless Revolution: A History of Capitalism


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I show you how to make sushi at home. This is one of the most popular home sushi package in Japan. This is an instant sushi package and is very easy to make. It is a great idea for party. Be creative, you can add many other ingredients. You can make Inarizushi with this sushi. This page, I use both Inarizushi package and Chirashizushi package to make one dish.
I use Sushi Taro package and instant inari sushi package and make inarisushi. This is an instant version of making chirashi sushi by Sushi Taro. Chirashizushi is a popular Japanese home recipe and it is different than restaurant chirashizushi. It is very easy to make this sushi using these packages. You can eat chirashizushi itself and you can make inarizushi itself. But this time I used both package together and made great sushi! My friend mom use Hijiki mix with sushi rice and put it in the inarizushi. It's very easy. This recipe, you just need to cook Japanese rice. This is great party finger food, too.
What is Chirashizushi
Chirashizushi (ちらし寿司?, "scattered sushi") is a bowl of sushi rice topped with a variety of sashimi and garnishes (also refers to barazushi). Edomae chirashizushi (Edo-style scattered sushi) is an uncooked ingredient that is arranged artfully on top of the sushi rice in a bowl. Gomokuzushi (Kansai-style sushi) are cooked or uncooked ingredients mixed in the body of rice in a bowl. There is no set formula for the ingredients and they are either chef's choice or sometimes specified by the customer. It is commonly eaten because it is filling, fast and easy to make. Chirashizushi often varies regionally. It is eaten annually on Hinamatsuri in March.
What is Inarizushi
Inarizushi (稲荷寿司?) is a pouch of fried tofu filled with usually just sushi rice. It is named after the Shinto god Inari, who is believed to have a fondness for fried tofu. The pouch is normally fashioned as deep-fried tofu (油揚げ, abura age). Regional variations include pouches made of a thin omelette (帛紗寿司, fukusa-zushi or 茶巾寿司, chakin-zushi). It should not be confused with inari maki, which is a roll filled with flavored fried tofu. A very large version, sweeter than normal and often containing bits of carrot, is popular in Hawaii, where it is called "cone sushi". If you want to read more, check this page.
This is the Sushi Taro package, you can find in Asian Grocery Store.
This is other side of bag, you can read this when you make this Chirashi.
This is Inarizushi no moto package. You may be able to find in Asian grocery store.
Egg Crepe
You don't need to make this egg crepe. This is optional. I like to put it in so I made this and decided to put the picture here.
It is not very difficult to make this. I mix eggs and put in a hot frying pan (if you have – non stick it would be easier) and quickly move the pan to make the egg spread in a thin layer. When you see the edge of the egg start peeling away from the pan, you flip the egg crepe upside down.
Cut egg crepe in half and lay sheets one on top of another. And cut in half again and lay sheets one on top of another, again. Then, you cut them julienne. Besides the eggs, if you can buy some peas, it would be good to add it to them. It is good color to add green in the chirashizushi no moto and rice.
Cook rice and put in the Sushi Taro package and sliced egg crepe. Mix it all together. You don't mix rice like you mix dough. You don't want to smash the individual rice like paste. You will destroy the rice taste and can not make good sushi rice. Mix rice by cutting across it in a slashing motion, and then cool it by fanning. Read this page.
Lastly, Inarizushi package. There are 8 inarizushi in a package. You carefuly open, do not tear them. I use spoon to scoop the rice and carefuly put them in the pocket. Then you put NORI (from Sushi Taro pacage) on the top of Inarizushi. It is pretty to look at!


text: I was told to do this because ever'one is wonderi' who I am. I'm Jason-the-Elitist. (Definition: http://www.dictionary.com/cgi-bin/dict.pl?term=elitist) I'm an old friend of JP's. I'm a ITA with SprintPCS and I do a fiar bit of network programming. I'm on the IRC channel a lot, so, if you got a question, ask.


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The title of this four-part article is a metaphorical nod to the legendary jazz singer, songwriter, actor, and activist Abbey Lincoln (also known as Aminata Moseka) whose essay, "Who Will Revere The Black Woman?" is featured in the ground-breaking anthology The Black Woman. Edited by Black feminist author, screenwriter, and visionary activist Toni Cade Bambara, this all-Black woman anthology focused on the issues most pertinent to Black women and our communities. Originally published in 1970 and reissued in 2005 with a forward by Dr. Eleanor W. Traylor, The Black Woman was the literary wo/manifestation of the impact of the intersection of the Civil Rights/Black Power movements and the second wave of the Women's Rights movement on Black women's lives. In short, Ms. Lincoln's ageless essay is a demand for justice and protection for Black women. In her concluding paragraph she writes,
…Who will revere the Black woman? Who will keep our neighborhoods safe for Black innocent womanhood? Black womanhood is outraged and humiliated. Black womanhood cries for dignity and restitution an[d salvation. Black womanhood wants and needs protections, and keeping and holding. Who will assuage her indignation? Who will keep her precious and pure? Who will glorify and proclaim her beautiful image? To whom will she cry rape?
In her 1983 prophetic and timeless essay, "There Is No Hierarchy of Oppression," self-defined Black feminist lesbian mother warrior poet Audre Lorde writes,
I cannot afford the luxury of fighting one form of oppression only. I cannot believe that freedom from intolerance is the right of only one particular group. And I cannot afford to choose between the front upon which I must battle these forces of discrimination, wherever they appear to destroy me. And when they appear to destroy me, it will not be long before they appear to destroy you.[1]
I am struggling to find the right time to discuss inter and intra-racial gender-based violence in the midst of the justified outrage about the rampant and virulent racialized violence perpetrated against straight Black boys and men. Even with this being Sexual Assault Awareness Month, now doesn't feel like the best time to write about the gender-based and state-sanctioned violence perpetuated against Black straight women, girls, and LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) people both inside of and outside of our racial/cultural communities. I fear that sharing what's on my heart and mind, might be construed as my taking away from the "real" issue at hand in most Black communities, which seems to be solely white supremacist and/or state-sanctioned racist violence against straight Black men and boys.
Audre Lorde's writings remind me, however, that discussions on oppression within Black communities should never be taken up within an either/or frame. The diverse herstories/histories and contemporary realities of Black straight women, girls, and LGBTQ people have consistently revealed that the issues that directly impact us often take a back seat, if they even make it into the metaphorical car on the freedom and liberation highway.
There is a collective understanding among many in multi-racial, radical progressive movements, that the white supremacist, patriarchal, heterosexist, imperial, and capitalist power structure is the root of all oppressions in the United States. While I believe that to be true, even in the company of other oppressed people, Black straight women and LGBTQ people are still under attack. Too often we are caught at the intersections of race, gender, and if we identify as LGBTQ, sexuality. In spite of our shared his/herstories of oppression, struggle, and perseverance against the odds, not enough Black people view sexism, patriarchy, misogyny, heterosexism and transphobia with the same kind of activist passion that we view racism, white supremacy, and state-sanctioned violence perpetuated against straight Black men and boys.
The reality is this: when Black straight men and boys are beaten, brutalized, and/or murdered as a result of state-sanctioned and/or white supremacist violence, it becomes (as well it should be) a national issue in the Black community and in a few, definitely not all, instances, the outrage moves beyond the Black community. Yet, when Black straight women, girls, and LGBTQ people are raped, sexually assaulted, beaten, brutalized, and/or murdered as a result of misogynist, patriarchal, state-sanctioned, and/or white supremacist violence, it is too often the victim's individual issue.
There are so many egregious, known and unknown, cases of racial and gender-based violence perpetuated against all Black people, regardless of their gender, gender identity, and sexuality, that it is literally impossible to write about all of them. I want to highlight a selected few of the far too many, however, to ask Black/African-American/African descended people to consider our responses when any of us have been railroaded into the prison industrial complex, sexually or otherwise assaulted, or murdered. I want us, Black/African-American/African descended people, to consider our responses to issues that affect many as opposed to those issues affecting some of us based on our gender, gender identity, and/or sexuality.
"Jena 6" and the "New Jersey 4"
We can look at the profoundly powerful and most appropriate national response in support of the "Jena 6" who, at the time, were six African-American high school students (Mychal Bell, Robert Bailey Jr., Carwin Jones, Bryant Purvis, Theo Shaw and Jesse Ray Beard). Originally, they were unjustly charged as adults with attempted second-degree murder and conspiracy counts for assaulting a white student (Justin Barker) in Jena Louisiana. The fight resulted from building racial tensions, which included three nooses hanging from a tree. In September 2007, in response to the charges, a virtual and on the ground mass mobilization resulted in a national protest led by Rev. Al Sharpton, Congresswoman Maxine Waters, radio personality Michael Baisden, and the National Association for the Advancement of Colored People, where thousands of protesters marched on Jena to demand justice and challenge the racism in the Jena, Louisiana criminal (in)justice system. The teens were facing a combined sentence of 100 years and were clearly being railroaded from school into the prison pipeline. In addition, there were songs created by hip-hop and rock artists, numerous editorials and stories in the mainstream and alternative media, as well as congressional hearings.


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By M. R. Rajagopalan
Secretary, Gandhigram Trust, Tamilnadu
The environmental deterioration that is happening, thanks to our life styles and worship of development and progress, is worsening day by day.
Gandhiji has not said anything specific on it as environmental degradation had not become a problem then. But we have it in his writings. Once, when asked for a message to humanity, Gandhiji said, "my life is my message". We can find everything we want, provided we go through his writings, his speeches and his life.
Man's progress and the road to development has led to the deterioration of nature. In his quest for fulfilling his needs, he has exploited nature to its maximum. This is development that is ecologically not sustainable. In the words of James Mchall, the human being has become the most dangerous organism that the planet has ever hosted.
Awareness about the degradation of environment has been growing since the fifties. Steps were being taken to increase this awareness through books, conferences, etc. The irony is that though every responsible person seems to be worried and anxious about environmental degradation, a meaningful solution is nowhere in sight. It is here that the Mahatma's teachings give us some hope.
In the western tradition man was an entity apart from the earth which he was encouraged to conquer, whereas in Indian tradition earth was his mother which he should hold in veneration. Gandhiji was very much influenced by our tradition and stressed on Truth and non-violence. In the words of Gandhiji "man has no power to create life, therefore, he has no right to destroy life." Man has been endowed with higher faculties so that he can be compassionate to lower beings.
If environment is to be saved from degradation we have to avoid or limit the use of machinery. That is where Gandhiji's promotion of khadi and Village Industries have become more relevant today than during the freedom struggle. We should read Gandhiji's Constructive Programme. Harijans and women are not yet treated as equal members of our society. Health and hygiene are wanting in Rural India. Many other aspects of life are discussed in the constructive programme. Adopting some of his ideas will be the first step in saving the environment.
Even more important are the eleven Vows or Vratas of Gandhiji which are non-violence, Truth, Non-stealing, Brahmacharya, Non-avarice, Physical labour, Control of Palette, Religious harmony, Fearlessness, Swadeshi and Abolition of untouchability. In fact, the significance of each of the vratas could be elaborated in the context of preserving the environment.
Through the cardinal point Gandhiji has been expounded in this essay, I cannot help repeating Gandhiji's famous quotation. "The earth has enough resources for our need, but not for our greed." What greater message is there to save this earth from the environmental disaster?
Source: Smarika,24 September 2001


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When you stroll the grocery-store aisles these days, it's hard to miss the cholesterol-related health claims—just check out the boxes of oatmeal, soy products, and even margarine that promise a healthier heart through lower LDLs. But that's only half the story. Many doctors and nutritionists believe that increasing HDL cholesterol is also crucial for reducing heart disease risk. The jury's still out on which foods can significantly raise HDL without increasing LDL, but preliminary findings indicate that the following foods may help—and certainly can't hurt.
Red wine
Of all foods being tested for HDL-raising properties, alcohol, especially red wine, has the most conclusive results (Circulation, 2000, vol. 102, no. 19). "I don't encourage nondrinkers to take up drinking, but if a person already consumes alcohol, I recommend 1 to 2 ounces per day of red wine," says David Hurrell, MD, a Minneapolis- based cardiologist and founder of Holistic Heart Health.
Olive oil
Mediterranean countries have a much lower incidence of cardiovascular disease compared with the United States, where heart disease is the leading cause of death for both men and women. Scientists attribute this difference partly to Mediterranean people's high olive oil consumption (Circulation, 2001, vol. 103, no. 13). Substitute this tasty, monounsaturated fat-rich oil for butter.
High-fiber foods
Fiber-rich foods benefit both LDL and HDL (Archives of Internal Medicine, 2004, vol. 164, no. 4). Heart disease risk drops 10 percent to 30 percent for each 10 grams of fiber eaten daily. Enjoy oatmeal, barley, whole-wheat, and other cereals containing 5 or more grams of fiber per serving; munch on apples, pears, or berries, which top the high-fiber fruit list; and incorporate beans and other legumes into meals for a fiber-packed alternative to meat.
Fatty fish
Certain species, including salmon, mackerel, tuna, and herring, contain omega-3 fatty acids, which lower triglyceride levels and may increase HDL cholesterol (Circulation, 2002, vol. 106, no. 21). Enjoy these fish for dinner at least twice a week.


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Hello everyone,
I once asked Does Buddhism have holidays? on a large non-denominational Buddhist forum and could get no consistent replies (I got the impression that it depends on the tradition followed along with the country of origin etc.).
And so, I thought that now would be a good time to revisit this question, now that I have been with Soto Zen a little while. Does Soto Zen, or even Zen in general have holidays or special days of the year for remembrance or celebration?
Perhaps ultimately everyday is a holiday! But Im referring more to the conventional sense.
Thanks all,


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Bode Miller
Date Of Birth:
12 October 1977
Place Of Birth:
Easton, New Hampshire
Best Known As:
The reckless American skier who won medals in 2010
Bode Miller has distinguished himself as one of the world's fastest skiers, with numerous World Cup titles and six Olympic medals. Competing internationally since 1996, he won two silver medals at the 2002 Winter Olympics in Salt Lake City (giant slalom and combined events) and became a national celebrity. His speed-at-any-cost approach earned him a reputation for being reckless, but also helped his celebrity status as an exciting athlete to watch, both on and off the slopes. Considered by many to be a favorite in the 2006 Winter Olympics, Miller fell short of medaling, and comments he made led to accusations that he cared more about parties than about the Olympics. He left the U.S. Ski Team in 2007 to race independently, and in 2008 won his second overall World Cup title, but had a disappointing season in 2009. He rejoined the U.S. Ski Team and qualified for the 2010 Winter Olympics in Vancouver, where he won a gold, a silver and a bronze. He had knee surgery in 2013, but was back in action in time for the 2014 Winter Olympics in Sochi, where he won a bronze medal, becoming the oldest Alpine medalist -- 36 years old -- in Olympic history.
Copyright © 1998-2017 by Who2?, LLC. All rights reserved.
See also:


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Konnichiwa, Archinect!
In lieu of attending the March 31 Kazuyo Sejima and Ryue Nishizawa lecture at the GSD, I went to the Nishizawa-only lecture tonight at MIT on April 1. Word on the street was that when Sejima and Nishizawa brought their minimal approach to the lecture format at the GSD ("this is our project. This is the outside. This is the inside."), it wasn't that engaging. Was it better the next night at MIT? Here's my coverage of what happened: you tell me!
6:27 pm: The lecture hall isn't even full! Ryue Nishizawa is at the front, wearing converse sneakers.
6:34 pm: Nader Tehrani, chair of MIT's department of architecture, is giving the introduction. "In light of the recent traumatic events in Japan, SANAA's work resonates in a particular way...The mere shelter from the elements is a pale shadow in comparison with the" way the Japanese historically have had to grapple with the violent forces of nature.
"SANAA sets out to evacuate their presence...Sejima and Nishizawa find ways of editing out everything, out of sight...It's contents are deviously omitted...a work of erasure...If the conventional task of the detail is to bring emphasis to the joint...SANAA undermines those things that we expect to see."
Tehrani is talking about how their work hides not only the physical articulation of structure, but programmatic specificity, in the interest of foregrounding affect. "The strange absence of lines are to be taken literally...on the other hand, each building is accompanied by a thick stack of working drawings," of the structure and systems that are hidden in each work."
Tehrani says more than this--his thoughts are sensitive and critical, if not radical or unsurprising--and it struck me as an eloquent introduction that was respectful and positive without being fawning.
6:43 pm: Nishizawa comes to the podium. "Thank you for giving me such a wonderful opportunity to tell you what I'm thinking about the projects. In Tokyo, I belong to the SANAA office and the Nishizawa office." He's explaining how he and Kazuyo Sejima started their joint office in order to enter a competition at the time when he decided to strike out on his own (in 1997), and how they've maintained that office since then. Tonight's lecture will show work from both offices.
6:46 pm: Teshima Island Museum. Interesting program: the client wanted to show just one work of art, and it would never change.
The site has no straight lines; everything is an organic topography.
It's a concrete building, "but we did not use plywood for the formwork. We made a mountain of soil and installed the reinforcement on the soil." The workers poured the concrete for 22 hours straight so that it would be a single pour without joints.
[Note: some of the images I'm posting are from the internet, not from the lecture itself--some of the slides are similar, and others identical. I'm using my photos from the lecture mostly when I didn't have equivalents already from online.]
"I didn't install any glass roof in the opening. I thought it was nice to leave it open to invite rain or wind, or even insects inside. So this is a semi indoor/outdoor space. ...In the morning, water appears somewhere on the floor. It's kind of a moving water project."
6:54 pm: Serpentine Gallery.
"The shape and height of the roof is defined in relation to each situation." It's high, at 6m, near the road, and 3m near the existing building. "And there is no beam to support the roof. The roof is supported by a bunch of columns. The roof is a shiny aluminum plate, reflecting the landscape. ...This is the lowest part, at 60cm, where adults can't come--this is for kids. Normally it's a very open space, with no walls, but when rain comes, it creates an envelope [where the water is pouring off the roof.]"
7:00 pm: Toledo Art Museum.
"We are trying to keep the height of the building as low as possible to not disturb the beautiful landscape."
"The idea of the plan organization is that we give curved glass walls--balloon shapes for each part of the building." And he's describing how the buffer space between the different bubbles allows for climate control: the hot shop where staff blow glass is hot, the exhibition spaces have to be carefully climate controlled, and so on.
"The wall is curved, but the space feels straight; you can see through to the beautiful green landscape."
7:07pm: "The open feeling of architecture is something we're getting interested in. It's nice even for a house....The rooms are lined up, but shifting, to create gaps between them. Every room has its own dimension, with very high ceiling height. Some roofs can be opened up...to create semi-indoor, semi-outdoor spaces."
7:11pm: House in Kamikura in progress.
[Site in Kamikura]
"Kamikura city is very strict." So they only have 60 square meters of floorspace for a house and shop. "And then I started working on this smallness and density to find out what kind of interesting idea can be made."
The stacked spaces go from the shop on the ground floor up to a tiny bedroom on the top floor. Every room has its own terrace.
7:15pm: Tree House. Now in late design phase.
"This is a small house for friends...in nature in NYC state." It's on a "mountain top" (a ridge). "This is a very special shape so I didn't want to have the house on the ground. So the house is floating on the air and they have a very long slope to reach the house."
7:18pm: "For the New Museum people, who used to live on Broadway street." (The project of our 2nd year critic, Florian Idenburg!) He's talking about the expanded concrete mesh; how it gives a sense of depth on the facade, a kind of "unclear feeling," with some transparency.
Every exhibition room has a skylight, which has a different position for each room. Each room also has different proportions.
"Nighttime, you can see where is the window and wall, but daytime, everything just looks like mesh facade."
7:21pm: Louvre-Lens project outside of Paris.
"This is the big museum project we're now working on." This used to be a coal mining area, and he's explaining that the loss of this source of employment is one reason why the museum wanted to open a new branch here.
It's a big site, and they broke it down into a number of rooms, so it doesn't feel so big. "The facade has a transparent part and an opaque part, which is an aluminum wall to reflect the landscape."
The Louvre collection follows a long history: 4000 BC to the 19th century, so they gave the exhibition hall a long room to show this. "When they walk, people can feel European history through the collection."
The aluminum walls reflect the landscape (on the outside) and the collections (on the inside) in a kind of foggy way.
7:28pm: Rolex Learning Centre. Except that he calls it the "student center in Lausanne." No mention of the fancy watch.
"This is really big space. 180m each way. This is a space where every student and faculty member can stay in one space. The space is divided by round patios but people can go between these patios. Since this building is really huge, we gave this three dimensional topography to create transparent, open space, so that people can go through the building to reach the existing campus." So the space under the building "becomes a kind of public street."
"Roof and floor keep a parallel relation...this gives a very special landscape feeling inside the building. For example, this is the valley where you're bound by the two hills; but from this side, you can't see the next hill, because the roof comes down. So you can't see the other levels but the space is connected."
"The biggest jump is 80m."
Done. Applause.
Question from the Audience: What is important for you about transparency and dematerialization?
RN: "I want to create a relation. If I create an opaque wall, there's no relation. ...But I want to make the opportunity for people to make many different kinds of relation."
Question from the Audience: "I'll ask it a different way: you're often held to be the inheritor of the Miesian tradition of transparency, but I sense something...deeper in your work. Sejima complained that the photographers wait until the light is transparent to take their photos, but that misses the point."
RN: I don't understand question. [There was no answer, no attempt to rephrase or understand the question; we just moved on entirely.]
Question from the Audience: "There's something very special about community, which we've lost in this country. Your country is better. But there's something about open space, and seeing where other people, which is very beautiful in your work. And you've done it so I thank you for that." OK, that wasn't a question, but it was a nice way to end. Everyone applauded and it's over.
The GSD's Japanese lecture series is called "A New Innocence." My question is, are Sejima and Nishizawa really so innocent? Do they not engage the big questions about their work because they deliberately choose not to speak about these things, or is it because they really don't think about them? Or is it a language issue? Have they substantively engaged these questions elsewhere? I don't know enough about them to know.
Thanks for reading!
thanks for live blogging!
i'd say it's a language barrier. i recently read an interview ryue did with sou fujimoto (for el crouquis 151) and was struck by how theoretical and assertive the discussion was, particularly in light of how matter-of-fact his english lectures have been.
Thanks, v. That makes sense, and rings true with the (very vague) recollections I have of seeing Nishizawa being interviewed at the Canadian Centre for Architecture a few years ago. But the question remains: why, then, do Sejima and Nishizawa lecture in English without translators and keep the conversation so reductive? This seems like a deliberate choice.
There were translators on hand at the GSD and this wasn't enough to up the level of the conversation. I didn't see translators at the MIT event, but presumably if Nishizawa had asked for this, they would have readily supplied one.
The translator format is much more awkward than having an architect speak about their work in English, no matter how limited that skill may be. And besides, when are these lectures by well-known architects ever particularly illuminating? We all know almost all of SANAA's works and if we haven't read the often very articulate Croquis commentary, there are countless other encounters with the works and articles/interviews about them such that it will always be disappointing to hear an architect not really have much more to add.
The interesting lectures are the ones by architects with less well-documented or well-known work. Not only are you ingesting new projects and a specific way of working, but you get it directly from the source. It's why I thought the Fujimoto lecture was far more engrossing than the Ishigami or SANAA ones. His English is far more capable and his work less known.
I also have to stick up for SANAA a bit because unlike many architects who coat their buildings in excessive discussions of "big questions" (and frankly there are never many applicable big questions in built projects), I think Nishizawa/Sejima have never been particularly equivocal about the rather straightforward nature of the projects. They focus on material, construction, practical systems, and they just have an impeccable level of taste. They have larger issues that they've worked with across their body of work, but they aren't the types to engage in rather obtuse conversations about "transparency" and its infinite gradations.
You raise some very good points. I've never been one to think that if an architect gives us a wonderful building, they owe us something else (i.e. theorizing) on top of that. So I'm with you there.
I guess there was just so much hype, and such a big crowd, when they came to the GSD that the actual event ended up seeming disappointing (so I am told--I wasn't there). And, without it being a judgment of SANAA (because the work is undeniably important), I'm wondering about this idea of "innocence" in their work and process. It wouldn't bother me at all if an architect deliberately abstained from certain conversations, but it just wasn't clear in Nishizawa's lecture how deliberate this was.
One criticism that I do have, though, is in their absolute lack of responsiveness to certain questions that were asked by the audience, at both schools. A question doesn't need to be answered in the same register or on the same terms through which the question was asked--but it strikes me as a bit eccentric that they would travel all the way here to deliver a lecture, and then feel OK about skipping over questions that their presentation provoked from their audience. A bit more of a dialogue would have been really good.
I also admit that I'm like Tiger Mom here--showing my love (or admiration) in this case through criticism unreasonable expectations. I really like SANAA's work.
It seems that I have polemical views here. At once I think that it is appropriate and important for architect's to theorize their work in the natural production of it, and on the other hand it is clear that work can be unnecessarily encumbered by this desire to critically situate it within a theoretical or even a historical context. Meaning that sometimes it must be good for work to simply be the result of personal desire and taste.
I was at the GSD lecture and found the most DISTASTEFUL thing of the night to be some of the GSD faculty's seeming disdain of very thoughtful student inquiries into SANAA's work. It seemed that Sejima and Nishizawa attempted to answer these questions (though certainly not directly) but there was a stuffy air in the room that suggested that we (the discipline) should actually NOT be questioning the choices of these Pritzker prize winning architects... Whether to use a square inside of a circle as opposed to a circle inside of a square. This silent revolt against the "question-and-answer" session suggests that theoretical criticism might also be unnecessary for the user/viewer/student of the project. Are we to simply accept the work as exquisite (which in the case of SANAA it usually is) or is it still acceptable, prudent, or even important to question the veracity of a intellectual argument even if the very presence of the argument was never intended or considered by the architect? That would be a rather uninteresting future. For now it certainly makes for rather dull RE-presentations of well-known-work, masquerading as academic "lectures."
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This blog was most active from 2009-2013. Writing about my experiences and life at Harvard GSD started out as a way for me to process my experiences as an M.Arch.I student, and evolved into a record of the intellectual and cultural life of the Cambridge architecture (and to a lesser extent, design/technology) community, through live-blogs. These days, I work as a data storyteller (and blogger at Littldata.com) in San Francisco, and still post here once in a while.


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Members of Sector67 tried their hands at laser cut gingerbread houses. The Madison, Wisconsin based hackerspace is using the tabbed box method of assembly for the corners of the structure. They've also put up a bunch of information about laser settings and published the recipe used to mix up a sheet of gingerbread. This quite a bit more info than was provided with the project we saw a couple of weeks back.
The initial designs were made in Inkscape and then transferred to Corel Draw before heading to the cutter. They've got a 150W machine and found that a speed of 15 worked well when the speed was set to 100, with a corner speed of 60. The raw dough was rolled out to 1/8″ thickness. Possibly the best tip coming out of Sector67 is to lay 1/8″ dowels on either side of the dough. This way the rolling pin will stop when it hits the dowels resulting in the best possible uniform thickness. As reported in the previous project the odor generated while cutting is not the most pleasant. But we love the fusion of lasers with the age old process of building with cookies and decorating with candy.


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